VULNERABILITY
After works by artist Damien Hirst This appropriation of Hirst’s work embodies the sexualization and vulnerability of women in society. The placement of a female figure in a tank for masses to view imposes contrasting feelings of intrusion and intrigue. This is reminiscent of the way women are often viewed in society. Hirst’s work was intended to cause discomfort in viewers. By using the same tank, I attributed a similar goal to my own visual piece. This work embraces and celebrates the beauty of femininity and critiques the societal norm to sexualize female bodies. 10 Days | 1st Year Undergraduate: Visual Arts
EXPERIENTIAL ANALYSIS In this work I track my movement over the course of one week and mapped this data on various scales. I added a personal layer to the map by associating my location with the level of stress I usually experience in that area due to various factors such as struggles with transit and the hardships of being a student.
8 Days | 3rd Year Undergraduate: BENDS
DOWNTOWN BROOKLYN SITE MODEL | 1:250 IN PERSON Black rectangles represent vacant storefronts in the area. Massing lifts to reveal building section of designed intervention.
BROOKLYN IS SHRINKING I focused on studying Brooklyn, New York’s shrinking population, gentrification in the borough, and how it relates to and can be ameliorated by spatial design. A series of projects were completed, resulting in the urban design project “Home is Where the Mart Is” that reactivates vacant storefronts with affordable housing units and commercial space existing in tandem.
10 Weeks | 4th Year Undergraduate: BENDS Majority solo unless specified in photo captions
1600s Immersion Nature Sounds
$6100
$3240
$7000
$8130
1920s Immersion Vintage Film Track
Abstract collages of relevant images from the era, juxtaposed with analytical drawings and maps
$4340
$5900
$6000 $4000 $4000 $5950
$2000
$6100
1980s Immersion Concious Rap
$2990
$10 100 $4300 $3850 $5000
1:500
1:500
1:500
Vacant store monthly rent (USD) Storefront Intervention Locations
Highway 278
HISTORY OF BROOKLYN PRESENTATION: AN IMMERSIVE EXPERIENCE I completed the drawings and graphics for this project. In collaboration with Geyer (Conceptualization), Lindheimer (Research), Bush (Analytical Maps), Singh (Sound Cone Fabrication), and Salonga (Research)
Myrtle Avenue
DeKalb Avenue
Flatbush Avenue
THE GRAPH: GENTRIFICATION OVER TIME AND THE BROOKLYN SKYLINE The sculpture photographed is a 4-directional graph plotting the highest buildings at 1:1000 scale (Y) over time (X). The increase in building heights is reflected by an increase in the population of wealthy (-Y) and a decrease in the population of people of colour (Z) in Brooklyn. Casted into each “building” is a symbol of a driver of why each building was built so high.
Atlantic Avenue
Vacant Storefronts Grey Fabric 0
250 M
INDEX OF FOOTPRINTS Slot Corner
500 M
1000 M
Case Study: Boutique at 3pm
Case Study: Bakery at 8pm
Diagrams:
STREET ACTIVATION OPPORTUNITY
(PLAN VIEW)
12236.61
7539.92
TARGET DEMOGRAPHIC: THE BAKER TARGET DEMOGRAPHIC: THE NOMADIC YOUNG ADULT
Pedestrian Experience Intensity
15 SECOND DRIVE
TARGET DEMOGRAPHIC: BAKERKitchen and Open THE Concept
The Divide
100 METERS 2 MINUTE WALK
7539.92
Short-Term Living Units
Average: 5 Empty Storefronts per 200 M Block
5 VACANT STORES 0
Living Room
Open Concept Kitchen and Living Room
100 M
The Divide
Stairs to Bakery Stairs to Bakery
Semi-Private Washrooms
23769.50
Communal Washrooms
23769.50
Communal Washrooms
7539.92
25369.54
DEMOGRAPHIC: Communal TARGET Laundry THE BAKER
Living Units with Skylights Open Concept Kitchen and Living Room
The Divide
Communal Laundry
Communal Laundry
Living Units with Skylights Stairs to Bakery 23769.50
Communal Washrooms
Second Level
Retail Space & Living Room
Communal Laundry De
De
De
Living Units with Skylights
Baed
Baed
Baed
Second Level EARLY MORNING
EARLY MORNING
Second Level
DAY SECTION
DAY
LATE NIGHT EARLY MORNING
DAY
LATE NIGHT
BAKERY | 8:48 PM
EARLY MORNING Residential Activated Commercial Activated
BOUTIQUE | 3:23 PM 1:100
HOME IS WHERE THE MART IS
BAKERY | 8:48 PM
Brooklyn’s streetscape has been visually and economically transformed by the staggering numbers of vacant storefronts now dotting its most popular retail corridors. The problem is tied to the larger issue of gentrification in Brooklyn. A solve is to reactivate these vacant stores with a hybrid of commercial and residential space. The front end of these spaces would be inhabited by a small business, while the back would be home to low-to-mid income residents. The two spaces are seperated with a shift in elevation and a sculptural stair to indicate a divide without segregating the spaces. In this the commercial areas become an extension of the living space during closed hours. Small businesses would receive an affordable place to dwell, as would residents of Brooklyn.
FOR DESIGN MEDIA 2 WITH THOMAS GAUDIN
Bloom
A TRANSFORMING PAVILION BY OLUWATOSIN ODUGBEMI & M
TION
Surface created from point
Surface twisted to fit animation
Inner and outer points of surface separated
- Outer point stiff - Inner points slack
6502.43
Warp/weft animation applied to make it spin
6002.14
3979.68 291.51
BA SE
Enepeur surface from Math
Construct domain (between 0 and 1)
Construct domain (Pi) to mirror geometry
Iso Curve + MD Slider
Graph Mapper (U)
Pi
-Pi
DIMENSIONED IN MM
ROO F
CREATED WITH RHINO 6 & GRASSHOPPER PLUG INS USED: KANGAROO, LUNCH BOX, COCOON
Reference Height Map As Surface
Divide Surface to Generate Points
Move + Multiply
Create Surface From Points
Bloom
Graph Mapper (V)
FOR DESIGN MEDIA 2 WITH THOMAS GAUDIN
Create Pipes from U + V Iso Curves
Cocoon blobs over pipe
6522.68
A TRANSFORMING PAVILION BY OLUWATOSIN ODUGBEMI & MEGAN BERRY
L ANDSCAPE
6502.43
6002.14
3979.68 291.51
PLA N (Bottom View) 1:50
PLA N (Top View) 1:50
6457.47
437.49 6522.68
72.97 501.54 2362.44 1312.50
291.67
P L A N (Bottom View) 1:50
P L A N (Top View) 1:50
E L E VATI O N (Front View) 1:50
m
MEGAN BERRY
8
6457.47
437.49
BLOOM
72.97
A Series Of Floral Studies
501.54 2362.44 1312.50
291.67
ELEVATIO N (Front View) 1:50
The creation of biological objects with a manufactured material develops a visual contrast between built form and the natural environment. I studied this relationship through charcoal drawing and sculpting botanic forms with corrugated cardboard. This personal artistic study of botany and developed into a biomimetic pavilion design. In this project a fully parametric flower becomes a space to relax. The pavilion is dynamic and has been programmed through Grasshopper to move as seasons change.
3 Weeks | 2nd Year Undergraduate: Visual Arts Parametric pavilion process diagrams in collaboration with Megan Berry
HAVEN This house was designed for a friend of mine (J.M.) who was a child of war in Uganda. I held an interview with her where I discovered that her severe childhood has resulted in a strong value in security and care for others. I explored a design in which the walls of the house had differing opacities on order to create a feeling of safety and security for J.M. and her family. She is now a biological and step-mother, and takes care of her grandpa in law with severe Alzheimer’s. The house is home to many individuals belonging to different generations. I worked to create spaces to suit the needs of each inhabitant while prioritizing a sense of safety. 6 Weeks | 3rd Year Undergraduate: BENDS
“When I escaped I experienced years and years of depression and post-traumatic stress, but I was able to work through it by helping others. I only started healing when I started opening up. What I have been through is a big part of who I am now. I think I like to help people so much because so many have helped me ...And that resilience is so necessary because there is a lot less security in this world than one would hope. I crave safety for myself and for those I care for. I was robbed of my sense of safety when I was captured and I have fought the rest of my life to gain back that comfort.” -J.M.
ELEVATIONS AND SECTIONS
FLOOR PLANS B
South Elevation
East Elevation
Section A
Section B
A
Ground Floor
Second Floor
Third Floor
SITE PLAN
STUDY MODELS
RENDERING
The form of the structure is driven by a juxtaposition between geometric and organic shapes. The opaque geometric acts as a mask, protecting the inhabitants from the street and the lot that borders the house. Curves have been studied as comforting to the human eye, therefore they are used extensively interior to add another level of security sensation. The curves were shaped by the needs of each room. Furniture was placed in accordance to the programming, and the room walls were drawn around this. The house has been designed in such a way that when the inhabitants that are older no longer reside there, their units can be easily rented out adding a layer of financial security.
DISSOLVE
BOUNCE
Couches are for inside. Bricks are for buildings. These assumptions, among others, are challenged by Dissolve, which brings new meaning to the term ‘public-realm furniture.’ The design takes on the form of a stylized couch constructed from traditional clay bricks, achieving a minimalist aesthetic without losing the unmistakable geometries of a couch. In doing so, the bench brings the positive associations of the living room (comfort, security, meaningful relationships) onto the greenway. The use of brick celebrates the rich industrial history associated with the with the area. However, the mass of the bricks is softened as the bench seems to dissolve, as if being carried away by the prairie winds.
Bounce brings a charming memory of the great outdoors into the city for all to enjoy. Park-goers can play in and around the three hammocks, or simply recline for a nap or use the spot for reading. Each hammock is hung between several “trees”, made from white aluminum. The “trees” complement the vibrancy of the netting in summer and fall, and retreat into the snow in winter to give the illusion of floating surfaces.
Plan Scale:
1 1/2 = 1’-0”
11’- 6”
1’- 4”
8”
5’- 4”
3’- 4”
Front Elevation Scale:
1 1/2 = 1’-0”
3’-0” 3”
1’-6”
Right Side Elevation Scale:
1 1/2 = 1’-0”
11”
3’- 0”
1’- 2”
11”
11’- 6”
BENCHMARK These benches were designed as a competition entry for benches to be fabricated in Winnipeg, Alberta. A main focus of the competition was to keep costs low while creating an engaging design. My role was ‘Team Lead’. I was highly involved in the conceptualization and design direction. I organized and oversaw group members and dealt with outside relations.
4 Weeks | Competition In collaboration with Ranta (Renders), Salonga (Sections), Kam (Research), Berry (Research), Ico (Research), and Fergusen (Conceptualization Assist)
LABELS I created this campaign to draw awareness to the harmful effects of stereotyping based on skin colour. Stamping the visual minorities in the images with Nutrition Labels was a design decision made to highlight the dehumanization ingrained in racism. The campaign was created in response to the series of tragic events that occurred in the United States in the early 2010s revolving discrimination and prejudice, especially around police brutality. Unfortunately, it is relevant to date.
14 Days | 1st Year Undergraduate: Visual Arts
FORM Digitally modelled using Rhino 6, laser cut on acrylic, assembled, and sandblasted. In this fabrication project, I started by digitally 3D modelling a human stomach. I then changed the orientation of the stomach and separated it into a “waffle model� in order to create a biomimetic design that stands on its own but is still reminiscent of a stomach.
12 Days | 3rd Year Undergraduate: BENDS
VELOCITY This is an intervention on an eroding cliff in Vancouver, BC. In this project, we analyzed ways in which we could set up retaining walls that would alter and control the velocity of soil and water on the cliff to make interesting spaces for humans to occupy. In demonstration, a viscous liquid was poured down the model in order to illustrate a time lapse of cliff erosion over decades, and show a possible long term outcome of the design. Heat formed acrylic was used to embody fluidity and movement. In our process we created a model to represent our research findings. This model is a series of gears that were all triggered to move at different speeds when a handle was turned, symbolic of how erosion triggers movement of land, air, and water on different scales of time. 6 Weeks | 3rd Year Undergraduate: BENDS In collaboration with Megan Berry (Sections) and Narita Ico (Model Fabrication Assistance)
DYNAMIC MODEL REPRESENTING FORCES Gear types representative of wind, water, and soil velocity. Each gear spun at a speed relative to its corresponding element. Model acted as a conceptual representation of research.
BEFORE INTERVENTION
AFTER INTERVENTION & EROSION
Longitudinal Sections
Isometrics
Planting Plans
DESIGN RULES LINES IN PLAN
Surfaces meeting at an angle >90° Surfaces meeting at an angle ≤90°
Given Floor Plans STUDY MODELS
Result
TILT In this project, I was challenged to create a space with two given floor plans. Based on a set of rules I made for myself involving certain line weights depicting the angle that planes meet at, I created a space in which each plane is on a tilt. I designed this space so that traversing it would be an uncomfortable, yet interesting experience. The space purposefully lacks program.
14 Days | 3rd Year Undergraduate: BENDS
20 MINUTES AFTER INSTALL
120 MINUTES AFTER INSTALL
SILENT VOICES This activist art focuses on the gentrification that is dominantly present in Vancouver, British Columbia. It is designed for the silent demographic: highly impoverished members of the Downtown Eastside of the city. Silent Voices was an impermanent installation made of materials that were obtained and carried away by whoever needed them. A welcoming moment was created, before users of the space carried on with nomadic lifestyles. Inside the structure was cozy, with soft music playing, conversation, laughter, and food. This project was made possible through the support of non profits in Vancouver that I have relationships with from my time in volunteering, and was funded through personal fundraising. PVC Structural Frame Drawings
10 Weeks | Passion Project In collaboration with Kaia Neilsen-Roine in final stages (Fabrication Assistance)
Thank You